The poem object consists of a large wooden capital letter 'A' with one of its legs shortened and placed over a pile of lower case, cut-out, black paper letters and crosses. The letters 'u' & 'd' can be distinguish among others in this pile. Since the title of this work is "Lewd Woman Letter," the 'A' probably symbolizes adultress, as in "The Scarlet Letter" by Nathaniel Hawthorne. -- Source of annotation: Marvin or Ruth Sackner.

This poem is dedicated tor peter levi. -- Source of annotation: Marvin or Ruth Sackner.

Mahayana typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Mahayana typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Mahayana typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Mahayana typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Mahayana typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

'Still 1' typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Mahayana typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

Mahayana typewritings are stored in a custom wooden box made by Molly Burgess whereas Theravada typewritings are stored between two plexiglas book covers. The limited edition book, 'Still,' of 25 copies depcits excellent reproductions of the originals to the extent that it is difficult to distinguish the original from the letterpress reproductions. However, the originals are typed on a single page whereas the reproductions in the book are printed on sleeve pages. A comparison between the blackness of the lettering generally showed more blackness with the originals than the reproductions. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. This is the second printing of the catalogue with the pages evenly printed throughout. -- Source of annotation: Marvin or Ruth Sackner.

This catalogue was published for the exhibition of works of Bob Cobbing selected from the Sackner Archive. The curator, Matthew Abess, SAS '08, was an intern in the Archive during the summer of 2006 when he researched the material for this exhibition. In addition to writing an in-depth catalogue essay, Matthew Abess organized recorded sound poetry readings on multiple head phones in the gallery, and planned a seminar with cris cheek and Maggie O'Sullivan at the Writers House. Since the printing was faded in various parts of sentences on the last pages, Marvin Sackner pointed out that this should be considered a varient and was reminiscent of Cobbing's photoduplicator books. The catalogue was subsequently reprinted appropriately. -- Source of annotation: Marvin or Ruth Sackner.

The duplicate is signed but not dated. -- Source of annotation: Marvin or Ruth Sackner.

This poem object was designed by Regina Vater and Cezar Augusto. -- Source of annotation: Marvin or Ruth Sackner.